The painting which fronts Emma Louise's second album is an emblem of the stop. Laid bare in their submissive pose, the figure signifies how people need to let go of past grief to heal and allow a new chapter to begin.

The singer-songwriter from Australia found success with her 2011 debut EP, which contained the soaring single 'Jungle' that become chart hit across Europe. When it came to make her first full-length album, Vs Head Vs Heart, she admits to finding difficulty in trusting and opening up to those whom she was working with, as well experiencing a personal relationship break-up at the time. Following the album's tour, Emma Louise decided to take a break from music altogether. She spent two years travelling the world, including Japan where she wrote some of the new record, and enjoyed having a life away from the stage.

Fatefully, during the pause, she realised any previous pressure she felt to create had dissolved and songs started to come again. Rediscovering the joy in songwriting and demoing new ideas, she teamed up with Pascal Gabriel (notably known for his work with Kylie Minogue, Goldfrapp and Ladyhawke) to assist in producing her second record. Supercry is an album fundamentally about growing pains and moments in love when we attempt to figure out others as much as our own feelings. Its songs highlight an artist willing to be brutally honest in making her finely-produced pop, from the enveloping 'Underflow' to the grande closing song 'I Thought I Was Ship'. Much like the cover painting, Emma Louise's new album is both emotionally stark and brimming with colour.

You've said that making the first album and the time surrounded it really affected you. In the space between the two albums, did you feel you needed to recalibrate before starting another record?

Yes. That's a good word for what I was doing between albums. I had to take time to re-adjust my mindset about music.

A lot of artists speak of how the second album was a lot harder to write. Was this the case for Supercry? Did you push yourself in terms of songwriting?

No I don't think it's a good idea to push any kind of writing. I did feel a bit of pressure to write and I think that's what hurt me a lot because my relationship with music before the first album was so innocent and light. After feeling that pressure, I decided I wouldn't do music anymore and that alleviated a lot of pressure and the writing happened again because I wasn't focusing on what the songs needed to fit into.

You spent some of the writing period in Japan. Why did you choose to go there?

It was a fairly impulsive decision. I wanted to be alone somewhere new and very different. I'd never really seen the snow. I ended up in this cabin on top of a mountain in Japan. I was really isolated and it was so beautiful. I got snowed in and wrote a lot of songs.

Has songwriting always been a way of working through things?

Not always. Before I knew how to write songs I used to write poetry and short stories. I feel very lucky to be able to release my feelings through songs now though.

How does your painting of the figure on the cover represent the album?

I guess she is giving up but in her giving up there's all this colour coming out of her. That's because there's beauty too in pain and giving up. This album came from a lot of that.

When did the title Supercry enter the process for you? What does it mean to you?

At the end of Vs Head Vs Heart album tour it popped into my head and I loved it. It went through a few forms. I wanted to change my name to Supercry at a time.

The first song revolves around the lyric "All we ever ask is time". Why did you want to begin the record with that sentiment?

The first word of that song is "love" and I liked that. I guess it sets a mood and a place for the album to start.

'Underflow' was the first song to properly grab me. I liked the way the melody simultaneously sounded happy and sad. Is playing with dynamics something you consider, or aim for, in your writing?

I really like to work with dynamics in production and in live performance. Definitely in writing too. I like to write bridges -- it's a good excuse to play with a different dynamic in a song.

A lot of the songs on the record move between acoustic instruments and more produced, polished sounds. Did you enter the album with an idea of what you wanted it to sound like?

I didn't really know what I wanted the album to sound like. I just let it happen. I knew what I did and didn't like, and working with Pascal made everything come together so easily.

On some songs your voice is sampled and looped within the music itself. Did you see an opportunity how your vocals could be used as an instrument?

Most of those are from the demos. I didn't think too much when I made them. We couldn't replicate them and so we used the tracks from my demos. They are like little sketches in the song.

Is there a song on this record that you're particularly proud of?

I really like the song 'Grace'. Grace is my best friend and it feels good to justify my love for her in a song and my gratitude for always being there for me.

From writing these songs, do you feel you've gained an insight of your feelings or any clarity over the last few years? If so, why do you think sometimes it's easier to say some things in music or performance than in our daily lives?

Yeah I think you gain perspective when you make something and it sits in front of you and you can see how the colours and shapes of your feelings look and sound like.

You've described yourself as a sensitive person. Do you think you're learning how to use it as a strength?

Yeah I think so. I think I'm also learning how to not be so sensitive.

Supercry is out now. For more information, check out her official site here.